Aodyo Instruments anyma Phi User Manual Download

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Appendix: Module reference

Oscillators

Module name

Label

Modal resonator

Vibra ng structure simulator

Modal

String resonator

Vibra ng string simulator

String

Windsyo

Complex reed-based physical models

Windsyo

Ar n PLUK

Simple plucked string

Simple bowed string

Simple single-reed wind

Simple ute

Addi ve bell sound synthesizer

BELL

Ar n DRUM

Addi ve metal drum synthesizer

808-style kick drum

808-style cymbal

808-style snare drum

Pure tone without any harmonics

Sine

Triangle wave

So tone with some odd harmonics

Tri

Square wave

Harsh, rich tone with many odd harmonics

Square

Sawtooth wave

Very rich tone with many harmonics

Saw

Ar n SUB

Waveform with sub-oscillator

SUB

Ar n BUZZ

One to many sine waves

Voice simulator

Early speech synthesizer

FoF vowel simulator

Addi ve synthesizer

A simple white noise generator

Filtered noise

Resonant noise

Random sample generator

CLKN

Ar n CLOU

Granular cloud generator

CLOU

Summary of Contents for anyma Phi

Page 1: ...User manual VERSION 0 8 90 JULY 8 2021 www aodyo com...

Page 2: ...www aodyo com...

Page 3: ...ec ng the synth to the matrix 32 Patch structure 32 The bank 34 Edi ng patches 35 Zooming on a parameter 35 Jumping to a module 39 The module editor screen 39 Using the PC Mac editor 40 Se ngs 45 Whil...

Page 4: ...Contents Appendix Module reference 65 General 65 Oscillators 76 E ects 110 Modulators 135 Mappings 162 4...

Page 5: ...or reeds as well as resona ng structures like wood glass or metal Anyma Phi is compact enough to stand on your keyboard or anywhere on your desk and is compa ble with any MIDI controller such as key b...

Page 6: ...DI keyboard or sequencer but contrary to most synths this one also strives to make it easy to create very rich sounds to be controlled using expressive controllers such as the Sylphyo This manual will...

Page 7: ...e color of the current patch c Display Shows the currently accessible parameters that can be modi ed using the encoders as well as relevant informa on or menus d Display encoder D While in the matrix...

Page 8: ...ch to the correspond ing line of the matrix Excite Vibrate Di use Global and Animate In a module editor screen press the illuminated matrix bu ons to access more parameters for the selected module g P...

Page 9: ...Rear panel a Headphone output port 6 35mm stereo jack Play the Anyma Phi with headphones b Line input port 6 35mm stereo jack Use any audio input as a supplementary sound source for your patches When...

Page 10: ...ides power to your Anyma Phi using the included cable and power supply h Power switch Toggle the power switch to turn your Anyma Phi on and o In order to avoid undesired noises always make sure you rs...

Page 11: ...USB via its USB Host port or by using a MIDI DIN cable plugged into the MIDI IN port You will also need to connect your Anyma Phi to a mixer an amp speak ers or headphones using the relevant audio out...

Page 12: ...explore its varia ons2 Some patches also allow you to directly control varia ons using your MIDI keyboard or controller For instance if your keyboard has a mod ula on wheel try to turn it up and down...

Page 13: ...volving over the years The latest update is always available on our website Regularly check it or subscribe to our newsle er to stay informed of new updates Please make sure you download the update pa...

Page 14: ...le from this package to the disk The update will begin You can see the progress on the display of your Anyma Phi3 If the update has not begun try ejec ng the ANYMAPHI disk from your computer using yo...

Page 15: ...Timbre Color Chaos and Posi on How the sound is ini ated or sustained with external energy In the real world it could be a bow or a plectrum Vibrate Geometry Material Decay and Tuning How the excita...

Page 16: ...Vibrate controls will probably be more about the overall mbre This way the matrix o ers a sort of common tongue spoken by all Anyma Phi users allowing you to more easily tweak any sound you can load i...

Page 17: ...l the varia on sources internal or external in the patch Turning one of the parameter encoders allows you to select a par cular source which changes the corresponding name and value visible at the bot...

Page 18: ...ck to the Animate line just press again and you will see the ANIMATE tab highlighted at the top of the display We will see later in this chapter how to setup your Anyma Phi to map A B C D to speci c M...

Page 19: ...is set at 0 When Morph is set at 100 the patch only uses the alternate state of the matrix To access this alternate state press The lights on the matrix will then blink un l you press again to return...

Page 20: ......

Page 21: ...th synthesizers you might be tempted to skip to the next chapter However we recommend that you don t because it also describes the speci c way the Anyma Phi works compared to other synths Beyond the m...

Page 22: ...performer in order to produce a stream of data usually in the MIDI format that tells the synthesizer what kind of sound to produce e g play a C note very loudly Your Anyma Phi is such a synthesizer so...

Page 23: ...cillators can be much more sophis cated and in addi on to the tradi onal single waveform oscillators you will encounter many other ones that all sound di erent and are based on di erent synthesis tech...

Page 24: ...bre e g some sounds can be dampened or brightened and some are related to even other aspects When se ng up an oscillator you just select one by changing its type and tweak its parameters so that it so...

Page 25: ...n the delay is long such as in delays and reverbs it can sound like echo or simulate the reverbera on of a room or hall When the delay is much shorter it can sound like there are mul ple similar sound...

Page 26: ...sign sounds because the modules are placed in predic ble places and no me is spent connec ng all modules together Your Anyma Phi can be seen as a semi modular synth the signal path is predetermined as...

Page 27: ...SC2 OSC3 Main bus Aux bus SFX1 SFX2 SFX3 SFX4 SFX5 A er all the e ects have been applied you can control how much of each bus you want in the le or right channel of the stereo output panning or pan At...

Page 28: ...ow a control signal the note you re playing the modula on wheel on your MIDI keyboard a control in the matrix etc in uences a parameter of any module in the synth1 For instance you might want to make...

Page 29: ...s are internal sources of control signals independently from the external signals coming from your controller and from the matrix controls They o er you various ways to make your sound livelier and so...

Page 30: ...When the note ends the release phase begins and the value de creases to zero Note began Note ended ATTACK DECAY SUSTAIN RELEASE Another modulator typically used by tradi onal synthesizers is the LFO...

Page 31: ...f these two extreme se ngs depending on the exact velocity of the last note This envelope signal will be used when you play a MIDI keyboard to generate a more complex expression signal that will be us...

Page 32: ...n the the matrix Source 2 FX1 and FX2 in the Global line can be used to control the level of another oscillator or the dry wet level of strategically chosen e ects You can setup mappings so that Space...

Page 33: ...t described is a module that contains a bunch of parameters that completely describe it In addi on there is a special Patch module that contains some general parameters such as global tuning or color...

Page 34: ...nt of resources used by a patch The bank As with most synthesizers you can switch between di erent patches and the Anyma Phi o ers up to 200 di erent patches making up a bank You can only store a sing...

Page 35: ...s ng patches in depth or even to create en re patches from scratch Zooming on a parameter The most important ac on you can learn for edi ng patches is zooming on a parameter When you re anywhere in th...

Page 36: ...ming recursively Now let s imagine the e ect of Timbre isn t quite right and we need to tweak OSC1 more globally perhaps by adjus ng its other parameters so that a high value of Timbre will sound more...

Page 37: ...ays recover your train of thought by going back to the previous screens just press as many mes as needed to return where you were previously un l you nally return to the matrix1 your star ng point Sho...

Page 38: ...with all the parameters of OSC1 that can be a ected by the mapping Se lect Pluck position by turning the display encoder D and press to con rm You are now back to the mapping list and a new one MAP2 h...

Page 39: ...o to a speci c category In this case pressing would be a quicker way to access OSC1 Subsequent presses or leaving pressed will allow you to cycle through all the oscillators When your choice is made y...

Page 40: ...di ng experience you can nd the PC Mac editor on our website alongside the latest update Please always make sure you re using the editor that came with the update running on your Anyma Phi With your A...

Page 41: ...connect it and click the CONNECT bu on again to have access to your patches Using the editor a c d f g b e a Patch list Displays the bank of your Anyma Phi Click on a patch to select and edit it A er...

Page 42: ...y clicking or dragging it You can undo the last opera on by using Ctrl Cmd Z and redo it by using Ctrl Cmd Shi Z Right click a parameter to reset its value to the default one go to its related mapping...

Page 43: ...scope displays the expression velocity envelope sig nal Right click a scope to select which control signal to display f External control meters Display the current received MIDI pitch bend expression...

Page 44: ......

Page 45: ...e matrix Copy Copy the current matrix normal or alternate version depend ing on which is ac ve in the matrix screen to the clipboard Paste Paste the matrix in the clipboard replacing the currently ac...

Page 46: ...Copy the current matrix normal or alternate version depending on which is ac ve in the matrix screen to the clipboard Paste Paste the matrix in the clipboard replacing the currently ac ve version of t...

Page 47: ...his to lter out messages from other controllers that go through your MIDI setup to another synth but should not be taken into account by your Anyma Phi Default All Bend range Set the amount of semiton...

Page 48: ...rol C CC and CC Set up to two MIDI messages CC or A ertouch used as External control C in the synth Default CC 76 and AT Channel a ertouch Control D CC and CC Set up to two MIDI messages CC or A ertou...

Page 49: ...the Range value on the calibra on screen so that Current shows 98 or 99 and decrease Range a bit more un l Current shows 100 You can then check that the volume knob is well calibrated by turning it o...

Page 50: ...ol A CC and CC Set up to two MIDI messages CC or A ertouch used as External control A in the synth Default CC 1 Modula on wheel and O Control B CC and CC Set up to two MIDI messages CC or A ertouch us...

Page 51: ...a on procedure would be as follows First turn down the volume knob to its physical minimum and set the Minimum value on the calibra on screen so that Current shows 1 or 2 and increase Minimum a bit mo...

Page 52: ...Se ngs SETTING Diagnos cs Enter the Diagnos cs screen which you can use for troubleshoo ng with customer service Reset se ngs Reset all the se ngs to their default values 52...

Page 53: ...peci c parameter shown in the bo om part of the display MODULE NAVIGATION The following ac ons allow you to select a speci c module in the patch and edit it They all require that is held pressed durin...

Page 54: ...ge ng the current changes up un l the last me it has been saved Press Switch between the normal and the alternate version of the matrix Press Select a speci c line of the matrix In a Related mappings...

Page 55: ...uts only apply on startup keep holding the indi cated bu ons while powering on your Anyma Phi and release them once the display shows your ac on has been taken into account Power on while holding Ente...

Page 56: ......

Page 57: ...of patches and banks through the menu now works under recent Windows versions Scrolling through patches now displays the patch list un l scrolling stops and the patch is loaded Saving an empty patch w...

Page 58: ...lay while in the matrix Added new diagnos cs for improved error repor ng Increased USB host compa bility with USB MIDI devices in some very speci c cases By default empty patches will now have Ctrl A...

Page 59: ...nd outputs via USB and DIN ports Powerful digital semi modular synthesizer engine Memory 200 patches 3 oscillator slots 5 e ect slots along 2 serial buses Main Aux 1 mono re verb 16 modulator slots in...

Page 60: ...ence Fulconis Por ons of the synth use code adapted from Mutable Instruments Euro rack modules made by Emilie Gillet Copyright c 2012 2015 Emilie Gillet Permission is hereby granted free of charge to...

Page 61: ...OR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARIS ING FROM OUT OF OR IN CONNECTION WITH THE SOFT WARE OR THE USE OR OTHER DEALINGS IN THE SOFT WARE Por on...

Page 62: ...SS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DIS CLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTO...

Page 63: ...wesome Trademarks All the trademarks cited in this documenta on are only used here for descrip ve purposes They remain subject to legal regula ons and are owned by their respec ve property holders Dis...

Page 64: ......

Page 65: ...Module name Label Patch Global patch parameters PATCH Velocity envelope The envelope used to create the Expression signal from MIDI velocity when expression or breath control are absent VELENV Mix Mai...

Page 66: ...ont panel lights and editor when the patch is selected Grey Red Orange Yellow Green Teal Blue Violet Pink Pitch semitones SEMI The global pitch correc on on the controller 64 to 63 semitones Pitch ne...

Page 67: ...of smooth transi on between notes to use Constant rate Synth like glide where the me to get to another note is propor onal to how far away it is Constant me Realis c glide where the me to get to anot...

Page 68: ...se two extremes and determined by interpola ng the parameters by the velocity of the last note A ack me MaxVel ATTACK The me needed to go from 0 to 1 in the a ack phase 0 to 8 seconds Decay me MaxVel...

Page 69: ...sustain level to 0 in the release phase 0 to 8 seconds A ack level MaxVel ATKLVL The output level at the end of the a ack phase 0 to 100 A ack level MinVel ATKLVL_ The output level at the end of the a...

Page 70: ...Appendix Module reference Max velocity Use a xed velocity of 127 70...

Page 71: ...sent to the reverb and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter OSC1 Level OSC1 The level of OSC1 sent to the Main bus 0 to 100 OSC2 Level OSC2 T...

Page 72: ...he Main bus output to the le and right channels 100 Le to 100 Right Audio input Source AIN SRC An external source for the audio input White noise A random audio source Le channel The le channel of the...

Page 73: ...sent to the reverb and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter OSC1 Level OSC1 The level of OSC1 sent to the Aux bus 0 to 100 OSC2 Level OSC2 T...

Page 74: ...he Aux bus output to the le and right channels 100 Le to 100 Right Audio input Source AIN SRC An external source for the audio input White noise A random audio source Le channel The le channel of the...

Page 75: ...nnels of the audio output Bypass BYPASS Whether to bypass the reverb freeing compu ng resources Send SEND The level of input 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e e...

Page 76: ...B 808 style cymbal CYMB Ar n SNAR 808 style snare drum SNAR Sine wave Pure tone without any harmonics Sine Triangle wave So tone with some odd harmonics Tri Square wave Harsh rich tone with many odd h...

Page 77: ...Module name Label Ar n PRTC Par cle system simulator PRTC Ar n QPSK Telecommunica on data generator QPSK 77...

Page 78: ...the resul ng sound its mbre The oscillator version of this resonator uses a short burst of noise as its excita on signal simula ng an impact on the resona ng structure Keyfollow K FOLLOW Whether the...

Page 79: ...ial making the sound decay slower or faster 0 to 100 Posi on POSITION The posi on of the excita on point on the structure 0 to 100 Voice count VOICES The number of voices 1 to 3 Quality QUALITY Change...

Page 80: ...llow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 10...

Page 81: ...Posi on POSITION The posi on of the excita on point on the string 0 to 100 Voice count VOICES The number of voices 1 to 3 81...

Page 82: ...lex response similar to exis ng acous c instruments Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semiton...

Page 83: ...Reed One Flute Duduk Sylphinet 83...

Page 84: ...algorithm Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on th...

Page 85: ...yfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator...

Page 86: ...K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to...

Page 87: ...Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cent...

Page 88: ...of decaying sine waves Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch c...

Page 89: ...ine waves with noise Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch corr...

Page 90: ...ound on analog drum machines Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pi...

Page 91: ...low K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100...

Page 92: ...found on analog drum ma chines Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The...

Page 93: ...y harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on...

Page 94: ...ne with some odd harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitc...

Page 95: ...ther the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Pu...

Page 96: ...ch tone with many harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pit...

Page 97: ...Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Pulse width PWM The propor on of me the square is on...

Page 98: ...follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Waveform WAVEFORM Sin...

Page 99: ...ch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Second formant FORMANT2 The frequency of the second form...

Page 100: ...follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Vowel VOWEL A E I O U...

Page 101: ...ure provided by the human vocal tract Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FI...

Page 102: ...mbre Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the os...

Page 103: ...White noise Noise A simple white noise generator 103...

Page 104: ...ether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents F...

Page 105: ...dis tance Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on t...

Page 106: ...low K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100...

Page 107: ...or follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Grain density overl...

Page 108: ...e oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Par cle d...

Page 109: ...and modems with predetermined data Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE...

Page 110: ...ates without increasing volume Drive Cross fader Balances between two inputs XFader Cross fader with drive Cross fader with drive controls XFadeD Cross folder Wavefolds two inputs together XFold Ring...

Page 111: ...und and give the resul ng sound its mbre Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre...

Page 112: ...t VOICES The number of voices 1 to 3 Keyfollow K FOLLOW Whether the e ect follows the controller s pitch Pitch semitones SEMI The pitch correc on on the e ect 64 to 63 semitones Pitch ne FINE The pitc...

Page 113: ...to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Structure STRUCT Accentuates the non linear response of the string 0 to 100 Brightness BRIGHT The brigh...

Page 114: ...CES The number of voices 1 to 3 Keyfollow K FOLLOW Whether the e ect follows the controller s pitch Pitch semitones SEMI The pitch correc on on the e ect 64 to 63 semitones Pitch ne FINE The pitch cor...

Page 115: ...us Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Filter mode MODE The type of lter reponse Low pass A low pass lter 12 dB oct High pass A high pass lter 12...

Page 116: ...Appendix Module reference Keyfollow K FOLLOW The amount by which the lter cuto follows the controller s pitch 100 to 100 116...

Page 117: ...e balance between the pre e ect dry and post e ect wet signals 0 to 100 Filter mode MODE The type of lter reponse Low pass LP1 A low pass lter 6 dB oct Low pass LP2 A low pass lter 12 dB oct Low pass...

Page 118: ...er 6 dB oct Band pass BP2 A band pass lter 12 dB oct Notch A notch lter Cuto frequency CUTOFF The cuto frequency of the lter 12 26 Hz to 18 82 kHz Resonance RESO The resonance of the lter 0 to 100 Key...

Page 119: ...ND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Low pass LOWPASS The low pass lter frequency 0 to 100 High...

Page 120: ...Appendix Module reference Peak gain PEAKGAIN The peaking lter gain 0 to 100 120...

Page 121: ...VCA Voltage controlled ampli er decreases the level of its input signal Bus BUS Whether to apply the e ect on the Main or Aux bus Level LEVEL The level of the input signal 0 to 100 121...

Page 122: ...nal louder simula ng the non lineari es found in analog ampli ers Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet sig...

Page 123: ...ri es found in analog ampli ers in a way similar to overdrive guitar pedals Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e e...

Page 124: ...dule reference Cross fader XFader Balances between two inputs Bus BUS Whether to apply the e ect on the Main or Aux bus Mix MIX The cross fading amount this bus on the le the other bus on the right 0...

Page 125: ...gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied to the input signal on the other bus 0 to 400 Dry wet DRY WET The balance between the pre e ect dry and post e ect w...

Page 126: ...or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied...

Page 127: ...between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied to the input signal on the other bus 0 t...

Page 128: ...e Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain ap...

Page 129: ...2 1 Then 2 Else 1 If 2 1 Then 2 Else 1 If 2 1 Then 2 Else 1 If 1 Then 1 Else 2 Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post...

Page 130: ...00 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Delay me TIME The me between the original and the delayed signal 0 to 26 5 ms Feedback FEEDBACK The amount...

Page 131: ...ether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Rate...

Page 132: ...US Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100...

Page 133: ...ious e ects Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet...

Page 134: ...ersistent Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet s...

Page 135: ...late between four points LERP4 Calculate Perform successive opera ons on a series of values e g 1 2 3 4 CALC Curve Apply a curve to a value CURVE Quan ze Reduce the resolu on of a value QTZ Smooth Smo...

Page 136: ...K The me needed to go from 0 to 1 in the a ack phase 0 to 8 seconds Decay me DECAY The me needed to go from 1 to the sustain level in the decay phase 0 to 8 seconds Sustain level SUSTAIN The output le...

Page 137: ...LFO Simple low frequency oscillator Creates a periodic sinusoidal control signal at a given rate Rate RATE The number of periods of the waveform per second 0 07 to 142 Hz 137...

Page 138: ...phase Gate GATE Whether the controller controls the gate Retrigger RETRIG Whether to retrigger on a new note Shape SHAPE The shape of the envelope Log Lin Exp A ack me ATTACK The me needed to go from...

Page 139: ...e me before the envelope starts its a ack phase 0 to 8 seconds Hold me HOLD The me before the envelope starts its decay phase 0 to 8 seconds Hard reset HARD RST Whether the envelope is reset to zero w...

Page 140: ...second 0 07 to 142 Hz Trigger TRIGGER The trigger used to reset the LFO Shape SHAPE The shape of the oscillator waveform Sine Sine wave with 50 varia on wavefolded sine with more extreme values Trian...

Page 141: ...The amount of me necessary for the oscilla ng waveform to fully appear le or disappear right 0 to 8 seconds fade out to the le fade in to the right Phase PHASE The amount of phase of the waveform 0 t...

Page 142: ...moothed using a slew limiter that can independently smooth the value when it increases or decreases Input IN The value source to use Minimum MIN The minimum value of the input to consider 0 to 100 Max...

Page 143: ...Rise me RISE The amount of smoothing when the value increases 0 to 5 seconds Fall me FALL The amount of smoothing when the value decreases 0 to 5 seconds 143...

Page 144: ...etween the values indicated by Minimum and Maxi mum If the input is less than Minimum the output will be Minimum If the input is greater than Maximum the output will be Maximum Input IN The value to u...

Page 145: ...the input around the interval indicated by Minimum and Maxi mum For instance if Minimum is 0 5 and Maximum is 1 then 0 25 will become 0 75 Input IN The value to use Minimum MIN The minimum value 0 to...

Page 146: ...Maximum For instance as the input decreases con nuously below Minimum the output will increase in mirror un l it reaches Maximum at which point it will decrease and so on so as to always stay between...

Page 147: ...e between two values Takes two inputs and outputs a point in between these two values do ing a linear interpola on Input 1 IN1 The start value Input 2 IN2 The end value Interpola on posi on LERP The m...

Page 148: ...on of point P1 0 to 100 P2 Posi on P2 POS The posi on of point P2 0 to 100 Interpola on posi on LERP The mix between the values de ned at 0 P1 P2 and 100 Start value 0 The value when the interpola on...

Page 149: ...to inputs 1 and 2 Add Add both operands Subtract Subtract both operands Mul ply Mul ply both operands Minimum Take the minimum of both operands Maximum Take the maximum both operands Input 2 IN2 An i...

Page 150: ...aximum both operands Input 3 IN3 An input value Opera on 3 OP3 The opera on to apply to the previous result and input 4 Add Add both operands Subtract Subtract both operands Mul ply Mul ply both opera...

Page 151: ...a curve to a value Input IN The value to use Shape SHAPE The shape of the curve to apply Log Exp Log Linear Exp Sigmoid Sigmoid Horiz Linear Sigmoid Vert Amount AMOUNT The amount of curvature to appl...

Page 152: ...Appendix Module reference Quan ze QTZ Reduce the resolu on of a value Input IN The value to use Steps STEPS The number of di erent possible values of the output 1 to 127 152...

Page 153: ...me FALL The amount of smoothing when the value decreases 0 to 5 seconds Shape SHAPE Whether smoothing is linear or exponen al Exponen al smoothing Uses a low pass lter Linear smoothing Uses linear int...

Page 154: ...s ltering HIPASS The amount of high pass ltering on the input 0 to 100 Over ow behavior OVRFLOW The behavior when the accumulator over ows Saturate Keep the value to the maximum un l it is reset Reset...

Page 155: ...he output will be at 100 when the trigger occurs and gradually fall down to zero Input IN An input value Trigger TRIGGER A trigger used to generate the impulse from the current input value Fall me FAL...

Page 156: ...ccurrences of a trigger Trigger TRIGGER A trigger Steps STEPS The number of steps to count 1 to 127 Wrap around WRAP Whether to wrap around when the number of steps is reached Reset trigger RST TRIG A...

Page 157: ...e me since a trigger The output will be at 0 when the trigger occurs and gradually increase to reach 100 in a linear fashion Trigger TRIGGER A trigger Time TIME The me to reach 100 of the output value...

Page 158: ...ce Latch LATCH Capture a value when a trigger occurs The output will be equal to the input value at the last moment the trig ger occurred Input IN An input value Trigger TRIGGER A trigger used to capt...

Page 159: ...inimum of a value since a trigger The output will be equal to the minimum value of the input from the last moment the trigger occurred Input IN An input value Trigger TRIGGER A trigger used to reset t...

Page 160: ...AX Keep the maximum of a value since a trigger The output will be equal to the maximum value of the input from the last moment the trigger occurred Input IN An input value Trigger TRIGGER A trigger us...

Page 161: ...to a smoothed value The output will follow the amplitude of the selected audio input Input IN The audio input source to use None Audio input Le Audio input Right Main bus post FX Aux bus post FX Rise...

Page 162: ...parameter to be modulated 0 to 64 Amount AMOUNT The amount by which the source modulates the des na on parameter 100 to 100 Minimum value MIN The minimum source value 0 to 100 Maximum value MAX The m...

Page 163: ...Scale SCALE The scale of the mapping amount 0 to 100 Sidechain SIDE A value that can be used to modulate the amount Sidechain amount SIDE AMT How much the sidechain modulates the amount 100 to 100 163...

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